From June 24 to September 18, 2011 – Museum of Contemporary Art
Snorre Ytterstad’s universe seems at first sight rather mundane and simple, but on closer inspection it reveals a complexity of form and content. Ytterstad often uses everyday objects like ballpoint pens, nails and coins. By placing these familiar objects in unusual contexts, where they are alienated from their intended functions, they emerge in a new light, often producing whole new chains of associations. Ytterstad is fascinated by the range of meanings that language and words can take on depending on the context they appear in. The titles of his works often function on many levels and can be interpreted in a variety of ways.
Seeing the world in a new way, by shifting perspective or presenting it in a slightly new light, is an important aspect of Ytterstad’s work. This is reinforced by the fact that the viewer often has to move around his installations to grasp them in their entirety. Sometimes one even has to go searching for them. Either the everyday objects that Ytterstad presents don’t initially look like works of art, or they are so small and tucked away in such unassuming places that they are hard to spot.
One of the main themes of the exhibition is “space”. Both the physical space – the room – the work is set in, takes possession of, and thereby modifies, or other kinds of space, such as our inner world. Outer space also plays a part in Ytterstad’s world, as illustrated by many of his work titles and his frequent use of the circle as motif. Another crucial aspect of Ytterstad’s work is concealment. He uses wires that are all but invisible and constructs hidden spaces inside his sculptures.
Many of his works have political overtones, and can be read as criticisms of modern society and its capitalist system. He uses familiar symbols, like the Norwegian one-krone coin, to put his message across. In his use of found objects and high quality craftsmanship, Ytterstad can be compared to major Norwegian artists such as Jon Gundersen and Børre Larsen.
Born in Bodø, Snorre Ytterstad now lives and works in Oslo. He trained at Kabelvåg Art College (1990–92), the West Norwegian Art Academy, Bergen (1992–95) and the National Academy of Fine Art in Oslo (1995–96). He has had several solo exhibitions including at Bodø Art Society (1994) and Satelliti, Galleria Kari Kenetti, Helsinki (2001). In addition, Ytterstad has participated in numerous group exhibitions including at UKS Biennial, Henie Onstad Art Centre (1998) and “Modellmakerne” (The Model Makers), Kunstnernes Hus, Oslo (2000).
Until the 2nd of October 2011 – The Astrup Fearnley Museum of Modern Art
Francis Bacon (1909–1991) and Andy Warhol (1928–1987) were two great artists of the 20th century with very different approaches to creativity, to the processes of working, to the nature of images and to the notion of art in general. Bacon, who painted in the first person, transferred his visceral energy and enigmatic symbols and metaphors directly to the canvas, while Warhol, who worked in the third person, adopted existing forms and figures from the media and made them his own through various techniques of reproduction. And while Bacon belonged to a long and rich tradition of Expressionistic painters, Warhol marked the beginning of a new, more distanced development in contemporary art – Pop. Both produced meaningful works, however, that are ambiguous, complex and highly influential.
In this exhibition, key works by Bacon and Warhol will engage in an intelligent dialogue with those by some of the many different painters who have worked on the borderline between these two artistic languages, developing their own vocabularies with an emphasis on the manipulation and transgression of images, creating direct and indirect actions and narratives. They include Jim Dine, Larry Rivers, David Hockney, Miodrag Djuric Dado, Erro, Eduardo Arroyo, Jens Johannessen, Knut Rose, Gerhard Richter, Sigmar Polke, Jörg Immendorf, and Martin Kippenberger, to name just a few. On the one hand, the spectator will be drawn into the seduction of a painterly expression that often adopts a provocative thematic, and on the other, will be challenged by the philosophical approach of artists who distance themselves from their subject matter. The result will be a fascinating exploration of the reach and influence of these two important tendencies in painting – Expressionism and Pop art – during the 20th century and beyond.
From 20 January to 24 April 2001 – The Astrup Fearnley Museum
The Astrup Fearnley Museum is proud to announce a forthcoming solo show with Dan Colen (b. 1979). Colen is part of New York’s ‘downtown’ art scene – the so-called ‘Bowery School’, which includes, among others, Nate Lowman, Terence Koh and Ryan McGinley. Based on elements from mass media and experiences from contemporary life with a subcultural language, he creates a personal remix that highlights beautiful and magical aspects of undervalued, everyday life. His artistic production encompasses photographs, painting and sculptures, and includes, among other things, Disney motifs and chewing gum on canvas, painted sculptures with ‘low-cultural’ references, graffiti-inspired text paintings and large installations with performative elements.
The New York-based band I.U.D. will be giving a concert at the opening of the exhibition. The band, whose members are Lizzie Bougatsos and Sadie Laska, are known as an “industrial punk-and-dub-duo”. Both are involved in numerous projects as visual artists, as well as by playing in other bands. Bougatsos plays in Gang Gang Dance and Laska in Growing and Extreme Violence. U.I.D. came into existence when Bougatsos asked Laska to start a noise project, which they named with the “body issues” and “women stuff” inherent in Bougatsos performance art. A work by Bougatsos is currently on display at the museum in the exhibition ‘Rotating Views #2’ that consists of works from the Astrup Fearnley Collection.
From the 7th of September to the 1st of February 2011 – Astrup Fearnley Museum of Modern Art
Ernesto Neto (b. 1964) has become well-known with his embracing installations . The viewer is invited into large spaces consisting of soft fabrics, exotic smells and bright colours. His works are perceived as an extension of abstract modernism, not least in relation to tendencies of brazilian modernism. This extensive exhibition will be Neto’s first retrospective presentation and will show 14 works from over the last 10 years.
In the three short films that can be found below, shot at his studio ATELIENAVE in Rio de Janeiro 25 May, Neto talkes about the exhibition and also about his childhood dream of becoming an astronaut, and how ideas on gravity and space (nave means space ship) have influenced his art works. In the last film he reflects upon how the brazilian artistic heritage as well as arte povera and european modernism has helped shape his own artistic language.